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fication of the poet with other times and characters,

in which Scott is second only to Shakespeare. 248 ccix Bonnivard, a Genevese, was imprisoned by the Duke

of Savoy in Chillon on the lake of Geneva for his courageous defence of his country against the tyranny with which Piedmont threatened it during the first half of the seventeenth century. - This noble Sonnet is worthy to stand near Milton's on the Vaudois mas


249 CCX

Switzerland was usurped by the French under Napo

leon in 1800 : Venice in 1797 (ccxı). 252 ccxv This battle was fought Dec. 2, 1800, between the

Austrians under Archduke John and the French under Moreau, in a forest near Munich. Hohen Linden

means High Limetrees. 257 ccxviii After the capture of Madrid by Napoleon, Sir J.

Moore retreated before Soult and Ney to Corunna, and was killed whilst covering the embarcation of his troops. His tomb, built by Ney, bears this inscription : 'John Moore, leader of the English armies, slain in

battle, 1809.' 272 ccxxix The Mermaid was the club-house of Shakespeare,

Ben Jonson, and other choice spirits of that age. 273 ccxxx Maisie : Mary. Scott has given us nothing more Page No. 280 ccxxxv Two intermediate stanzas have been here omitted.

complete and lovely than this little song, which unites simplicity and dramatic power to a wildwood music of the rarest quality. No moral is drawn, far less any conscious analysis of feeling attempted : the pathetic meaning is left to be suggested by the mere presentment of the situation. Inexperienced critics have often named this, which may be called the Homeric manner, superficial, from its apparent simple facility : but first-rate excellence in it (as shown here, in cxcvi, CLVI, and cxxix) is in truth one of the least common triumphs of Poetry. — This style should be compared with what is not less perfect in its way, the searching out of inner feelings, the expression of hidden meanings, the revelation of the heart of Nature and of the Soul within the Soul, — the Analytical method, in short, – most completely represented by Wordsworth

and by Shelley. 280 ccXXXIV correi: covert on a hillside. Cumber: trouble.

They are very ingenious, but, of all poetical qualities,

ingenuity is least in accordance with pathos. 295 ccxlm This poem has an exaltation and a glory, joined

with an exquisiteness of expression, which place it in the highest rank amongst the many masterpieces

of its illustrious Author. 306 cclii interlunar swoon : interval of the Moon's invisibility. 313 cclvi Calpe : Gibraltar. Lofoden : the Maelstrom whirl

pool off the N.W. coast of Norway. 315 cclvii This lovely poem refers here and there to a ballad by

Hamilton on the subject better treated in cxxvii and

CXXVIII. 330 CCLXVIII Arcturi: seemingly used for northern stars.

And wild roses &c. Our language has no line modulated with more subtle sweetness. A good poet might have written And roses wild : yet this slight change would disenchant the verse of its peculiar

beauty. 334 CCLXX Ceres' daughter: Proserpine. God of Torment:

CCLXXI This impassioned address expresses Shelley's most

rapt imaginations, and is the direct modern represent-
ative of the feelings which led the Greeks to the wor-

ship of Nature. 345 cclxxiv The leading idea of this beautiful description of a

day's landscape in Italy is expressed with an obscurity not unfrequent with its author. It appears to be, – On the voyage of life are many moments of pleasure, given by the sight of Nature, who has power to heal

even the worldliness and the uncharity of man. 347

1. 4 Amphitrite was daughter to Ocean.
1. 22 Sun-girt City : It is difficult not to believe that
the correct reading is Sea-girt. Many of Shelley's
poems appear to have been printed in England during
his residence abroad : others were printed from his
manuscripts after his death. Hence probably the text
of no English Poet after 1660 contains so many errors.

See the Note on No. IX. 351 CCLXXV l. 21 Maenad: a frenzied Nymph, attendant on

Dionysus in the Greek mythology.
1. 17 Plants under water sympathize with the seasons


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of the land, and hence with the winds which affect

them. 353 CCLxxvi Written soon after the death, by shipwreck, of

Wordsworth's brother John. This Poem should be compared with Shelley's following it. Each is the most complete expression of the innermost spirit of his art given by these great Poets :-of that Idea which, as in the case of the true Painter, (to quote the words of Reynolds,) 'subsists only in the mind : The sight never beheld it, nor has the hand expressed it; it is an idea residing in the breast of the artist, which he is always labouring to impart, and which he dies at last

without imparting.' 355

the Kind: the human race. 356 CCLXXVIII Proteus represented the everlasting changes, unit.

ed with ever-recurrent sameness, of the Sea. 357 CCLxxix the royal Saint: Henry VI.



ALEXANDER, William (1580-1640), XXII

Bacon, Francis (1561 – 1626), LVII
BARBAULD, Anna Laetitia (1743 - 1825), CLXV
BARNEFIELD, Richard (16th Century), xxXIV
BEAUMONT, Francis (1586–1616), LXVII
BURNS, Robert (1759-1796), cxxv, CXXXII, cxxxix, CXLIV,

Byron, George Gordon Noel (1788–1824), CLXIX, CLXXI, CLXXIII,

cxc, ccii, ccix, CCXXII, CCXXXII

Campbell, Thomas (1777 1844), CLXXXI, CLXXXIII, CLXXXVII,

Carew, Thomas (1589 - 1639), LXXXVII
CAREY, Henry (-1743), cxXXI
CIBBER, Colley (1671 - 1757), cxix
COLERIDGE, Hartley (1796 – 1849), CLXXV
Coleridge, Samuel Taylor (1772 - 1834), CLxvIII, CCLXXX
Collins, William (1720- 1756), cxxiv, CXLI, CXLVI
COLLINS, (18th Century), CLXIV
CONSTABLE, Henry (156–1 - 1604?) xv
Cowley, Abraham (1618 – 1667), CII
COWPER, William (1731 - 1800), cxxix, CXXXIV, CXLIII, CLX, CLXI,


CRASHAW, Richard (1615 ?- 1652), LXXIX
CUNNINGHAM, Allan (I784-1842), CCV

DANIEL, Samuel (1562 – 1619), xxxv
DEKKER, Thomas (-i-1638?), liv
DRAYTON, Michael (1563 – 1631), XXXVII
DRUMMOND, William (1585- 1649), II, XXXVIII, XLIII, LV, LVIII,

DRYDEN, John (1631 - 1700), LXIII, CXVI

Elliott, Jane (18th Century), cXXVI

FLETCHER, John (1576 - 1625), civ

Gay, John (1688 -- 1732), cxxx
Goldsmith, Oliver (1728 - 1774), cxXXVIII.
GRAHAM, (1735 – 1797), cxxxIII
Gray, Thomas (1716-1771), cXVII, cxx, CXXIII, CXL, CXLII,


Herbert, George (1593 – 1632), LXXIV

XCVI, cix, CX
Heywood, Thomas ( - 1649?), Lii
Hood, Thomas (1798 – 1845), ccxxiv, CCXXXI, CCXXXV

· Jonson, Ben (1574 – 1637), LXXIII, LXXVIII, XC

Keats, John (1795–1821), CLXVI, CLXVII, CXCI, CXCIII, CXCVIII,


LAMB, Charles (1775-1835), ccxx, CCXXXIII, CCXXXVII
LINDSAY, Anne (1750-1825), CLIL
Lodge, Thomas (1556 - 1625), XVI
LOGAN, John (1748-1788), cXXVII
LOVELACE, Richard (1618 – 1658), LXXXIII, XCIX, C
LYLYE, John (1554 – 1600), LI

Marlowe, Christopher (1562-1593), v
Marvell, Andrew (1620- 1678), Lxv, CXI, CXIV
MicKLE, William Julius (1734 - 1788), CLIV
Milton, John (1608 -- 1674), LXII, LXIV, I.XVI, LXX, LXXI, LXXVI,

MOORE, Thomas (1780-1852), CLxxxv, CCI, CCXVII, CCXXI, CCXXV

NAIRN, Carolina (1766-1845), CLVII
Nash, Thomas (1567 – 1601?), i

Philips, Ambrose (1671- 1749), CXXI
POPE, Alexander (1688-1744), cXVIII
Prior, Matthew (1664-1721), cxXXVII

ROGERS, Samuel (1762 – 1855), cxxxv, CXLV

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